Tag: writing

Philosopher Muse brought Colin Feltham to my attention, so I read his Keeping Ourselves in the Dark. It’s in limited supply, so I found an online copy.

So much of modern life rests on promises of improvement. Governments promise progress, religions promise redemption, therapists promise healing. Feltham’s Keeping Ourselves in the Dark (2015) takes a blunt axe to this edifice. In a series of sharp, aphoristic fragments, he suggests that most of these promises are self-deceptions. They keep us busy and comforted, but they do not correspond to the reality of our condition. For Feltham, reality is not an upward arc but a fog – a place of incoherence, accident, and suffering, which we disguise with stories of hope.

It is a book that situates itself in a lineage of pessimism. Like Schopenhauer, Feltham thinks life is saturated with dissatisfaction. Like Emil Cioran, he delights in puncturing illusions. Like Peter Wessel Zapffe, he worries that consciousness is an overdeveloped faculty, a tragic gift that leaves us exposed to too much meaninglessness.

Depressive Realism – Lucidity or Illusion?

One of Feltham’s recurring themes is the psychological idea of “depressive realism.” Researchers such as Lauren Alloy and Lyn Abramson suggested that depressed individuals may judge reality more accurately than their non-depressed peers, particularly when it comes to their own lack of control. Where the “healthy” mind is buoyed by optimism bias, the depressed mind may be sober.

Feltham uses this as a pivot: if the depressed see things more clearly, then much of what we call mental health is simply a shared delusion, a refusal to see the world’s bleakness. He is not romanticising depression, but he is deliberately destabilising the assumption that cheerfulness equals clarity.

Here I find myself diverging. Depression is not simply lucidity; it is also, inescapably, a condition of suffering. To say “the depressed see the truth” risks sanctifying what is, for those who live it, a heavy and painful distortion. Following Foucault, I would rather say that “mental illness” is itself a category of social control – but that does not mean the suffering it names is any less real.

Agency Under the Same Shadow

Feltham’s suspicion of optimism resonates with other critiques of human self-concepts. Octavia Butler, in her fiction and theory, often frames “agency” as a structural mirage: we think we choose, but our choices are already scripted by language and power. Jean-Paul Sartre, on the other hand, insists on the opposite extremity: that we are “condemned to be free,” responsible even for our refusal to act. Howard Zinn echoes this in his famous warning that “you can’t be neutral on a moving train.”

My own work, the Language Insufficiency Hypothesis, takes a fourth line. Like Feltham, I doubt that our central myths – agency, freedom, progress – correspond to any stable reality. But unlike him, I do not think stripping them away forces us into depressive despair. The feeling of depression is itself another state, another configuration of affect and narrative. To call it “realistic” is to smuggle in a judgment, as though truth must wound.

Agency, Optimism, and Their Kin

Feltham’s bleak realism has interesting affinities with other figures who unpick human self-mythology:

• Octavia Butler presents “agency” itself as a kind of structural illusion. From the Oankali’s alien vantage in Dawn, humanity looks like a single destructive will, not a set of sovereign choosers.
• Sartre, by contrast, radicalises agency: even passivity is a choice; we are condemned to be free.
• Howard Zinn universalises responsibility in a similar register: “You can’t be neutral on a moving train.”
• Cioran and Zapffe, like Feltham, treat human self-consciousness as a trap, a source of suffering that no optimistic narrative can finally dissolve.

Across these positions, the common thread is suspicion of the Enlightenment story in which rational agency and progress are guarantors of meaning. Some embrace the myth, some invert it, some discard it.

Dis-integration Rather Than Despair

Where pessimists like Feltham (or Cioran, or Zapffe) tend to narrate our condition as tragic, my “dis-integrationist” view is more Zen: the collapse of our stories is not a disaster but a fact. Consciousness spins myths of control and meaning; when those myths fail, we may feel disoriented, but that disorientation is simply another mode of being. There is no imperative to replace one illusion with another – whether it is progress, will, or “depressive clarity.”

From this perspective, life is not rescued by optimism, nor is it condemned by realism. It is simply flux, dissonance, and transient pattern. The task is not to shore up agency but to notice its absence without rushing to fill the void with either hope or despair.

Four Ways to Mistake Agency

I’ve long wrestled with the metaphysical aura that clings to “agency.” I don’t buy it. Philosophers – even those I’d have thought would know better – keep smuggling it back into their systems, as though “will” or “choice” were some indispensable essence rather than a narrative convenience.

Take the famous mid-century split: Sartre insisted we are “condemned to be free,” and so must spend that freedom in political action; Camus shrugged at the same premise and redirected it toward art, creation in the face of absurdity. Different prescriptions, same underlying assumption – that agency is real, universal, and cannot be escaped.

What if that’s the problem? What if “agency” is not a fact of human being but a Modernist fable, a device designed to sustain certain worldviews – freedom, responsibility, retribution – that collapse without it?

Sartre and Zinn: Agency as Compulsion

Sartre insists: “There are no innocent victims. Even inaction is a choice.” Zinn echoes: “You can’t be neutral on a moving train.” Both rhetorics collapse hesitation, fatigue, or constraint into an all-encompassing voluntarism. The train is rolling, and you are guilty for sitting still.

Feltham’s Depressive Realism

Colin Feltham’s Keeping Ourselves in the Dark extends the thesis: our optimism and “progress” are delusions. He leans into “depressive realism,” suggesting that the depressive gaze is clearer, less self-deceived. Here, too, agency is unmasked as myth – but the myth is replaced with another story, one of lucidity through despair.

A Fourth Position: Dis-integration

Where I diverge is here: why smuggle in judgment at all? Butler, Sartre, Zinn, Feltham each turn absence into a moral. They inflate or invert “agency” so it remains indispensable. My sense is more Zen: perhaps agency is not necessary. Not as fact, not as fiction, not even as a tragic lack.

Life continues without it. Stabilisers cling to the cart, Tippers tip, Egoists recline, Sycophants ride the wake, Survivors endure. These are dispositions, not decisions. The train moves whether or not anyone is at the controls. To say “you chose” is to mistake drift for will, inertia for responsibility.

From this angle, nihilism doesn’t require despair. It is simply the atmosphere we breathe. Meaning and will are constructs that serve Modernist institutions – law, nation, punishment. Remove them, and nothing essential is lost, except the illusion that we were ever driving.

Octavia E Butler’s Alien Verdict

Not Judith Buthler. In the opening of Dawn, the Oankali tell Lilith: “You committed mass suicide.” The charge erases distinctions between perpetrators, victims, resisters, and bystanders. From their vantage, humanity is one agent, one will. A neat explanation – but a flattening nonetheless.

👉 Full essay: On Agency, Suicide, and the Moving Train